Robert Morris � I I

New work on paper 3 Bernice Rose

Author Rose, Bernice

Date 1985

ISBN 0870705083

Exhibition URL www.moma.org/calendar/exhibitions/2010

The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists.

w Robert EJ Wilson ml

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I New Work on Paper 3

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J Bernice Rose L TheMuseum of Modern Art J New York

J J The exhibition New Workon Paper 3 has been organized with the aid of grants from R. L. B Tobin and the National Endowment for the Arts. This publication is made possible by a generous grant from Asher Edelman.

Design by Richard Simon Haymes Production by Dale Cotton Typeset by U.S. Lithograph Inc. Printed and bound by Schneidereith & Sons

The Museum of Modern Art 11West 53 Street New York, New York 10019

Printed in the United States of America I Contents

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1 Preface and Acknowledgments 5 1 Introduction 7 1 Robert Morris 1 i Bruce Nauman James Rosenquist llE Robert Ryman I Pat Steir ID Robert Wilson fjn Pi P3 Pi Trustees of The Museum of Modern Art

Anne Cox Chambers David Rockefeller, Jr. William S. Paley Mrs. Agnes Gund Saalfield Chairman of the Board Ivan Chermayeff Gardner Cowles* Mrs. Wolfgang Schoenborn* Mrs. Henry Ives Cobb Gianluigi Gabetti Mrs. Constantine Sidamon-Eristoff David Rockefeller Miss Lillian Gish** Mrs. Bertram Smith ViceChairmen Paul Gottlieb Jerry I. Speyer Mrs. John D. Rockefeller 3rd Mrs. Melville Wakeman Hall Mrs. Alfred R. Stern President George Heard Hamilton* Mrs. Donald B. Straus Mrs. Barbara Jakobson Walter N. Thayer Mrs. Frank Y. Larkin Sidney Janis** R. L. B. Tobin Donald B. Marron Edward M. M. Warburg* VicePresidents Philip Johnson Ronald S. Lauder Mrs. Clifton R. Wharton, Jr. John Parkinson III John L. Loeb* Monroe Wheeler* VicePresident and Treasurer Ranald H. Macdonald* Richard S. Zeisler Mrs. L. vA. Auchincloss Dorothy C. Miller** *Trustee Emeritus Edward Larrabee Barnes Mrs. G. Macculloch Miller* **Honorary Trustee Mrs. Armand P. Bartos J. Irwin Miller* Ex-Officio Trustees Sid Richardson Bass S. I. Newhouse, Jr. Prinz Franz von Bayern** Stavros Niarchos Edward I. Koch Gordon Bunshaft Richard E. Oldenburg Mayor of the City of New York Shirley C. Burden Peter G. Peterson Gifford Phillips Harrison J. Goldin Thomas S. Carroll Comptroller of the City of Nezv York Frank T. Cary John Rewald**

Committee on Drawings

Ronald S. Lauder Steingrim Laursen Chairman Mrs. Barnett Malbin Gifford Phillips R. L. B. Tobin Mrs. Max Pine ViceChairman Mrs. Andrew Saul Arthur G. Altschul Mrs. Wolfgang Schoenborn Mrs. L. vA. Auchincloss Mrs. Bertram Smith Walter Bareiss Sheldon Solow Prinz Lranz von Bayern Mrs. Alfred R. Stern Charles B. Benenson Mrs. Donald B. Straus Mrs. Caroll L. Cartwright Monroe Wheeler Marshall S. Cogan Mrs. Richard Deutsch Mrs. John Ernst Mrs. Victor Ganz Alexis Gregory Philip H. Isles Mrs. Jacob M. Kaplan Mrs. Seymour M. Klein Mrs. Frank Y. Larkin Preface and Acknowledgments

I hihis is the third in a series of exhibitions orga tive efforts of many people, and this show is no T exception. Once again, The Museum of Modern Art nized by The Museum of Modern Art, each of which is intended to show a relatively small number of artists has been fortunate in having had the artists partici I through a representative selection of their recent pate in this endeavor, and particularly in the publi drawings. Emphasis is placed on new work, with oc cation. I would like to thank Bruce Nauman, James casional glances backward to earlier production where Rosenquist, Robert Ryman, Pat Steir, and Robert Wil I — the character of the new art especially requires it, and son for creating original works specially for reproduc on artists or kinds of art not seen in depth at the Mu tion in this catalog, and to thank Robert Morris as well seum before. Beyond this, no restrictions are imposed as Rosenquist, Ryman, Steir, and Wilson for creating I J on the series, which may include exhibitions devoted works specially for the exhibition. Many people asso to heterogeneous or compatible groups of artists, and ciated with the artists have been helpful, including, works of art ranging from traditional drawing to work as ever, collectors of their work. I would especially on paper in mediums of all kinds. Without exception, like to thank Mr. Martin Visser of Bergejk, the Nether however, the artists included in each exhibition are lands, and Rudi W. D. Oxenaar and Toos van Kooten presented not as a definitive choice of outstanding of the Kroller-Miiller Museum in Otterlo, the Nether contemporary talents, but as a choice, limited by the lands, for their continuing generosity to the Museum necessities of space, of only a few of those whose and, particularly, for lending drawings by Nauman. achievement might warrant their inclusion —a choice, The following individuals and galleries have been moreover, that is entirely the responsibility of the di of assistance throughout: For Bruce Nauman, Angela rector of the exhibition. Westwater, Sperone Westwater, New York; Konrad The exhibition departs from the format of works Fischer, Konrad Fischer Gallery, Cologne; and Feo on paper only to include drawings on other supports, Castelli and Patty Brundage, Feo Castelli Gallery, New while the catalog, written and designed in advance of York. For Robert Morris, Ileana Sonnabend and Anto the final exhibition selection, gives an idea of each nio Homem, Ileana Sonnabend Gallery, New York; and IP artist's work appropriate to the catalog format. Feo Castelli, Feo Castelli Gallery, New York. For Rob The New Work on Paper series, as with any exhi ert Ryman, Daryl Y. Harnisch, Galerie Maeght Felong, fP bition, has been made possible through the coopera New York. For Pat Steir, the artist. For Robert Wilson, P the Paula Cooper Gallery, New York; and Ronald Vance, particularly indebted to Jerry Neuner, Production Byrd Hoffman Foundation, New York. Manager, for his coordination and supervision of all Many colleagues have been most generous with aspects of the installation. Richard Simon Haymes has support and advice. At the Museum Riva Castleman provided an inventive design for the catalog. Harriet and John Elderfield have been especially helpful. Susan Schoenholz Bee has, as always, been the most helpful Mason, Curatorial Assistant in the Department of of editors. Drawings, has been a very able and amiable coordina The Museum of Modern Art is grateful for gener tor of all aspects of the exhibition and the publication, ous support from R. L. B. Tobin and from the National for which she compiled the artists' biographies. An Endowment for the Arts, which made this exhibition toinette King, Director of Conservation, and Ann possible. Finally, on behalf of the Museum, I wish to Craddock, Assistant Conservator, have again been thank Asher Edelman for his generous support; with invaluable in dealing with conservation and special out his help this publication would not have been installation problems. Kate Keller worked with extra possible. ordinary skill and patience to solve the problems of photographing the work of Ryman and Morris. Pamela Bernice Rose Lewis was most diligent in attending to the numer Curator ous details of correspondence and organization. I am Department of Drawings

6 Introduction

M uch of the most serious and original art of In twentieth-century art the space "behind" the the recent past can be classified as drawing. Drawing picture's surface, where figures and objects used to has been chosen by contemporary artists as an alterna live in an orderly manner, began to press forward, tive medium and has taken its place along with paint compressing and displacing them onto the surface ing and sculpture as a major expressive voice. It is an itself. It then expelled them, expanding outward to inextricable part of recent painting, while continuing encompass the spectator's own space, at first slowly to be the primary study means for painting and sculp and then, within the past twenty years, very rapidly. ture as well as architecture. Drawing permits the art As this happened a vacuum was created; while new ist to practice the most sensuous and rigorous aspects things rushed in to fill it, space itself also became a of representation and to explore particular systems for subject of art. the construction of illusion. And, like poetry, it can In this situation the problem of representation be offer the artist the chance to construct a supplemen came a lively artistic game. The threatened disappear tary or alternative model free from the rules that gov ance of man from the picture turned into a game of ern work in other mediums. hide-and-seek in which the figure is sometimes pres Until the end of the nineteenth century drawing ent and sometimes displaced to play the role of had been the principal structural agent of representa spectator. An important aspect of some recent art is tion in a system in which art's primary task was to that a phenomenological space, one of sensation, has imitate external reality. But since the nineteenth cen become integral to it: the viewer discovers that he or she tury the opposite has been true: drawing, painting, has become both the object and the subject of the work. and sculpture (and various new mixed modes) have New Work on Paper 3 is ultimately about diversity. taught us that the artist's world is about the posses It is about many possibilities that exist under the one sion of reality through vision itself and about the covering term drawing. But today drawing is not a term objectification of internal necessity. The primary task that denotes a unified set of rules any more than it is a of modern art has been to construct a reality that be way of going about creating a structure that projects a longs to works of art alone, one that is sometimes in rationalist view of the world or a vehicle for expres dependent of, but is always more important than, sion within a structure of completely realized and self- anything represented. explanatory forms. Drawing, relieved of its role as the

7 primary agent of imitation, offers the artist a new free manding we all share in his visions. In his drawing dom of organizational methods, an extraordinary from the Firestorm series, charcoal, graphite, ink, and flexibility of sources, materials, and techniques. Along wash virtually become the smoke, soot, and ash of a with the traditional rapid stop and go, there is an even nuclear blast. Fear comes to life. The artist has noted greater freedom to rearrange, select, fragment, add that he physically generates heat as he rubs the sur on, displace, replace, repeat, vary, multiply, delete, face of his drawings with powdered graphite; heat be cut, scrub, pose, juxtapose, suggest, present, and even comes a metaphor for creation and destruction. Dealing represent. There is also a changed focus on line as an with what is at his fingertips and testing the extent of agent of illusion; line, like paint, has had to speak for his physical reach Morris finds the scale of his work. itself, to evoke life, not just describe it. Yet, drawing In his drawing primordial sensations are brought to has remained what it always was, a mode of thinking light and find virtual existence in the materials of new thoughts. drawing; touch and sight are related, but distinct, and The drawings in this exhibition are by artists who order is created by representing external phenomena: belong to more than one artistic generation, each of echoes of Joseph Mallord William Turner's late works which has been characterized by a particular revolu appear in several recent pastels. Other aspects of tionary attitude toward drawing. While concerns are Morris's imagery —all permutations of the same subject shared, and issues relevant to one are relevant to —are death and sex, sex and power, power and others, their expression is wholly individual. For the repression, and repression and freedom. They are all fortunate —or the strong —time focuses and sharpens culturally "framed," and literally framed. energies. This exhibition presents the work of six ma In the frames that are an integral part of some re ture artists with well-developed concepts of drawing cent work, Morris reaches out to the physical world. that serve particular needs or functions. Each of the Using relief sculpture, which traditionally functions six has created a radical interpretation and amalgam as a medium between two and three dimensions, he of themes, some of which are particular to traditional offers cast representations: skulls, skeletons, penises, drawing and some to the individual artist's view of ropes, and chains. Hand casts and finger tracks in the drawing: none could have been anticipated or expected. ductile medium refer touch in drawing to touch in sculpture. In the color pastels and watercolors, the drawing sheds light on the frame, illuminates it as if from a kind of deep internal radiation, creating an ani Robert Morris has dark fantasies that expand and touch mate spatial volume. Historical, philosophical, and met reality. His recent work has focused on varieties of aphorical references are dense: we are reminded of apocalypse, beginning with a musing on Leonardo's Baroque and Rococo styles but also of William Blake Deluge drawings, transforming the idea to nuclear and the Pre-Raphaelites. We have here the relation apocalypse, and continuing to other more personal ship between drawing and relief sculpture in the dual and natural visions of disaster. presentation: the metaphor of touch, mentioned above, Existential dread, natural disaster, and anger at so binds them, but even more arresting is Morris's con ciety are objectified in Morris's work in a unique way. ception of the role of art itself as a kind of conscience Like Jasper Johns, who first proposed the theme of and provocation. The sculptural representations of bod existential doubt and duality in his monumental draw ily parts are casts which we must take to be the artist's ing Diver, 1963 (Collection Mr. and Mrs. Victor W. metaphor for himself, a form of self-portraiture. These Ganz), where there is an actual imprint of the artist's refer us to human sexuality and creation, to birth on hands and feet on the work, in drawing Morris reaches the one hand and mortality on the other. The draw out from the center of himself to touch the world, de- ings are a creation, something to which the artist gives

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Robert Morris. Untitled (from the Firestorm I birth. They stand out against the mortality they portray. series). 1982. Charcoal, ink, graphite, and pig ment and wash. 76" x 16'. The Museum of Modern Art, New York. Gift of the Mr. and Mrs. I Samuel I. Newhouse Foundation. Inside the volume of two handfulls a gas with the Bruce Nauman has long been assumed to be the most density of metal expands faster than any known thing subjective of artists, emptying his work of represen in the Universe. Giving up its binding force of energy I tation, making his own range of perception and con a small chunk of dull gray metal rearranges itself into every nameable element. Time is drawn backwards sciousness the subject of his work. If the withdrawal into the void for an instant as matter is emptied into into self is the "last freedom," then Nauman would energy. P seem to have achieved it. But why, then, would he Outside streetcar rails melt and roof tiles boil as the city shudders for an instant beforethe bursting describe drawing, that most personal of the arts, as a pressures and ensuing firestorms. Not all life is "privileged place, an open area, that he can step into obliterated. A burnt and naked man stands on a black and feel O.K.?" Why would he describe it as "a river bank holding his eyeball in his palm unable to see m comfort?" the beauty that reversing the Universe held for some. Far from withdrawing into self, this artist has of m fered himself in the form of his own fantasy, has in vited us to play along with him. He has turned the world inside-out for our examination, named and a objectified nameless fears, suspended the rules that govern his work, and taken time to meditate on what he has made, thus creating a place for the unexpected. p In his sculpture Nauman has addressed the notion of space: the space things occupy, the space between things, and the space inside things as defined by their p outsides. His drawings, too, are about the space things

9 a j occupy, but they also represent the things that occupy space: they represent the sculpture. In his drawing Nauman attaches himself to certain traditions of art, practices skill, a certain degree of illusion, and can sometimes be allegorical. Nauman's Face Mask is a calligram. "It brings text and shape as close together as possible. It is composed of lines delimiting the form of an object while also arranging the sequence of the letters. It lodges state ments in the shape of a space, and makes the text say what the drawing represents." 1This drawing is more 2 than a "split representation"; it enacts duality. Face is mirrored, Mask is not; we see front and back, top and bottom, inside and out. Face is a projection as our own faces are to us in the mirror; from the front we see only the mask. Nauman, however, does not represent the mask as such, but demands that we join in, that Bruce Nauman. Face Mask. 1981. Charcoal, we supply all kinds of additional verbal and visual A pastel, and pencil. 52 3 x 70". The Museum of information belonging to the class mask. We imagine Modern Art, New York. Gift of The Lauder all of the functions and ramifications of masking: Foundation. (Photograph: Glenn Steigelman Inc., courtesy Leo Castelli Gallery) personation, impersonation, the hidden individual ex istence behind the social and cultural facade. The ren dering itself enacts a tension of opposition in that the calligraphy is made impersonal, masked as a hand- rendered typeface. Nauman's presentation for the catalog falls into the category of his calligram and anagram drawings, and is meant to elicit many of the same kinds of re sponses as Face Mask. Since it is intended for mechani cal reproduction it has been conceived, appropriately, in a mechanical typeface. FaceMask conflates graphic and sculptural concerns; in this and as a physical object it joins another class of Nauman's drawings in which sculpture is presented as an object for meditation and the drawing itself is presented as a spatial object. In Face Mask the motif of disjunction is metaphorical; in other drawings it is se mantic and literal, irreconcilable forms join to one an other with seemingly seamless logic, circular section to rectangle, rectangle to triangular section. Actual physical disjunction is achieved by "piecing." Pieces added as "extenders" are not strictly collage, but they disrupt the flatness of the sheet and the integrity of

10 the plane and alter the neat rectangle. Concerns for thing looks like doesn't come from firsthand sight. density, surface and weight, and sheer size carry over. What is pictured is real: things are their pictures and But Nauman's drawing is about things that do not at the pictures are those things, in a continuously reflexive first emerge in the sculpture —if at all—so that new and fictional relationship. The photograph selects its information is important and may emerge as just a own reality and, from a continuous fabric of the world, sketch. Ultimately, Nauman wants to push us always transposes it to two dimensions and frames it. The a little beyond the range of our normal perceptions, photomechanical reproduction makes it possible for to threaten us with illogic and to throw us back inside anything in the world to go anywhere in the world, ourselves: we are ultimately his co-conspirators, joined where familiarity levels all things. All images become to the artist as a subject of his work. Face Mask is equal, resulting in instant collage motifs and a dissolu enigmatic; its duality masks fantasies and conflicts. It tion of the distinctions among the traditional categories is about magic: to put a face on fear is to exorcise it. of still life, portrait, landscape, and figure composition. Art here no longer functions as a closed rational sys Rosenquist takes advantage of the selective reali tem for representing the world, but as a system of ties and the fictional relationship between the photo- interrogation: there are no closed categories; things image and reality, but he also works to break down attach to one another without apparent logic; there the reflexive relationship in a recognition of the fiction. are no ultimate solutions. He creates a convincing transposition from one real ity to another, from the mechanical to the hand- rendered. The lack of relative scale in the sizing of motifs is personal, psychological, and finally a spatial James Rosenquist reminds us of the allusive power of and visual assertion of the frontality of the pictorial images. His drawings are studies of the interpenetra- surface, despite danger from the illusionistic void. tion of modes of representation, photographic and Working in magnified size creates a perceptual distor hand, imitative and abstract. He is the only artist in tion that destroys normal object identities and relation the exhibition who makes studies for his paintings. ships, rendering them not only abstract but without His drawings frequently mix technical means and significant content or thematic or narrative relation mediums. They always mix motifs, deconstructing and ships. Fundamental to Rosenquist's work is the ambi reconstructing in an effort to devise another experi guity inherent in the formal use of a specific image. mental space, one encompassing the plane surface of Rosenquist works from grisaille to color, from the the canvas and the "voluminosity" of the world. individual motif to the total composition, in a series His motifs are selected from the world of popular of steps. The first step consists of notations of ideas advertising imagery, from images constantly repro and sketches (sometimes left for years until suddenly duced in magazines, newspapers, and billboards and something reveals itself), like those in his catalog from photographs he takes himself. Disparate images presentation. At this stage drawing is about "revela are freely associated and assembled to create a com tions" and "evidence of feeling." He tries, without position that depends on layering and transparency, getting involved in style or technique, to leave a contrast and contiguity. Rosenquist draws after the "significant suggestion of himself." Where Nauman photograph as traditional artists have drawn after is task-oriented, Rosenquist is systematic. The long nature. process toward "a new visual idea, a new visual In our culture we often confound the real with the technique" follows, with the possibility of change and photographic; although we have never seen her, we variation at every point. This involves studies of indi know how Marilyn Monroe looks because of photome vidual motifs (from photos and photomechanical chanical reproduction. The knowledge of what some reproductions), combinations of motifs, and finally

11 drawing these into a seamless whole. At this stage over, emptied of significant detail. As a result, our everything is tonal, and there is a great sensitivity to sense of propriety is offended and high art is sub nuances of light. Next comes translation to color and, verted in a manner that is, somehow, menacing. But finally, enlargement to canvas. All along Rosenquist are Rosenquist's paintings cautionary tales that point tries to retain the fidelity, the spontaneity, the wit, and to other meanings —even to a kind of reconciliation the scale of the first little sketch. with the dangerous mechanism of the modern world? The drawing for Digits from the Wildwood, a char Andy Warhol wanted to be a machine for making art. coal drawing after a collage, is a kind of interlocking Is Rosenquist saying that it is all imitation, mimicry, spatial "sandwich." His intention is to intersperse anyway? I am a camera: I—the artist —see and me two or more completely dissimilar motifs or textures chanically, like a camera, record the image and then in such a way as to provoke a sparkle at their point of copy it by hand. Is Rosenquist telling us that it makes intersection —to provoke a new pictorial idea, a new no difference, that I—the artist —am, have always been, invention in the picture plane. The "flash of explod the perfect machine for making art? Or is this what ing smiles" tears apart the image, creating "digits," he resists? Rosenquist's word for the long spiky elements that result from cutting freely into an image and which he likens to scribbles of hatching and crosshatching in Rembrandt's work. His female visions are breaking Robert Ryman emerged in the late sixties as one of up with laughter. We have a multilevel rendering be the leading painters of what was called at the time cause we are entering a mental space and looking in Minimal Art, characterized by a reduction of means at what is seen; we are outside the picture looking at to simple repetitive forms. It was an art with no ties to it as an object. The textural detail of skin here is not representation. Ryman, unswayed by current figurative unlike an enlarged handmade version of the grainy trends, has continued to refine his characteristic mo printed texture of the skin in a cosmetic-ad repro nochromatic white paintings in startlingly beautiful duction. Rosenquist's silvery rendering smooths the new variations. He seldom makes drawings, although sharply contrasted motifs into an overall uniform cal drawing has always been implicit in his paintings as ligraphy and soft chiaroscuro. Rosenquist works from the equation of paint and mark and as an underground the reality that inheres to photography to the reality principle of organization in their boundaries and that inheres to drawing, and finally to the reality that divisions. For this exhibition and the catalog that inheres to painting. One suspects that ultimately accompanies it he has undertaken a reexamination of Rosenquist sees continuity rather than fundamental the possibilities of drawing for its own sake. difference among them —even a mystic unity in light. "Even the most perfect reproduction of a work of The artist says he is not inspired by nature, but by art is lacking in one element: its presence in time and sunlight. space, its unique existence at the place where it happens 3 More importantly, the appropriation of the me to be." If this is true for art in an "age of mechan chanical and the mimicry of its effects throughout the ical reproduction," it is particularly critical and mat long process of bringing the mechanical "to hand" do ters a great deal to Ryman. The drawings Ryman made two things: Rosenquist's paintings enact a tension be for this catalog present a clear case of opposition to tween the mechanical and human both as a function the reproducibility of art. The support for each draw of iconography and as a question of the working pro ing is an anodized aluminum plate, square in format, cess itself as an underground subject. In his paintings to be hung Vi inch from the surface of the wall at a the seemingly beneficent icons of popular culture are, height of 60 inches to the center; the mediums used in effect, rendered obscene in that they are smoothed are pencil, ink and brush, ink wash, and enamel. The

12 emphasis is on each drawing as a unique object that line by itself is signatory: several of these drawings inhabits space in a very particular way. Its "aura" is de are the artist's signature. The critic Jeremy Gilbert-Rolfe pendent on the realization that it is not, in the sense of a has noted that Ryman associates the linearity of paint drawing on paper, a portable object, nor is it transferable ing with the linearity of text —an association that to the pages of a book. Its essence is dependent on Ryman makes literal with his signature —which is not placement and unique presence. The composition is to say that his work should be read as allegory. Ryman's not internally focused. As a result, the viewer's reac gesture in painting seems both to reject and embrace tion to it is not directed to a pictorial illusion but to autography —reject it by repetition of the same mark something taking place between the picture's struc within a single work but embrace it by the idiosyn ture and himself. The interior is carefully bounded, cratic nature of each gesture and by varying the ges whether by the surrounding line or the care with which ture from painting to painting. While the similarity of each element touches the edge; you are made to feel gesture in the single work makes it seem impersonal, and focus on the surface almost as if by direct com it is precisely this distancing that gives Ryman's marks mand so that the surrounding space and distance from the authority of shared experience, joining the viewer the wall become a necessary part of the experience, a to the artist. Kinesthetic experience, dependent on breathing space that both contrasts with and intensifies gesture, is a fundamental part of traditional drawing; the experience of the work. There is a kind of reflexive pleasure in it usually depends on complex factors. In relationship. You sense the thickness of the metal plane, Ryman's drawing, where the whole experience lies feel the size and shape and how it is distinguished between the viewer and the mark, with no interven from the wall, then begin to focus on the marks. The ing depicted subject, it is critical. experience is not translatable to a reproduction, and Ryman works in series: each drawing explores a Ryman resists the notion that any drawing, which is separate concern, whether it is material or structural, by his definition a unique object, can be reproduced. and each reflects on the others. Ryman wants sim Traditionally, in drawing, the white sheet serves plicity, he wants richness but not, as the critic Carter as the lightest part of an image; the black drawing line Ratcliff has noted, fussiness. He is deliberate; Ratcliff and the various devices used for indicating shadow calls this the "deliberateness of lived-out intention," bring an illusionary volume to life. In certain of Henri and it is a good description for the toughness and Matisse's drawings, for instance, black line alone brings rigor of work where meaning inheres in every space form to life, transforming white paper into light and and mark. volume. While Ryman admires Matisse's economy of means, he is against illusionism. Real light and shadow are mediums for Ryman. He wants to differentiate drawing devices specific to each medium and mate Pat Steir is both a poet and a painter whose mature rial but also "to find a system of equivalences." He work began around 1971 with ideas that continue to feels that each medium and each material must some the present. Initially interested in Conceptual Art, she how be appropriate to its use. The use of aluminum is still interested in art as research, the construction of as a support challenges the fragility and impermanence verbal and visual information systems. of drawing. Light reflected from an aluminum surface Her new drawings are sheerly visual. The oppo is real light, and for Ryman light equals space: at one site of Ryman's, they are essays in pure illusion as it moment the aluminum surface is tough and resistant, filters through history. They are about what she calls in another it dissolves into sheer light—volume —itself. the net of style, the grid of style and subject matter, Ryman has been investigating other traditional top what slips through from the long tradition of art and ics of drawing, "privacy," for instance, the idea that the conventions tied to each time to make each artist's

13 personal gesture. There is no "innocent" eye. For this sufficient richness. Poetry scrawled onto the surface catalog she wrote: mixes with the marks of the drawings, extends into signs, and finally merges with the marks of the draw These drawings are quotations ing itself. from the Japanese woodcut and from Hiroshige As she works, Steir is overcoming the resistant and from Courbet they each called their surface, making it dissolve into light and space. As artworks The Wave I use artworks and often double quotations her marks accumulate and begin to create darker areas, as reference material little sparks of light appear at the intersections of the the repetition of a subject or image lines; the play between dark and light areas creates a is very human and binding movement like that of light playing on the surface. I always use images which while they remain intact can be seen as figuration at once Space appears around the lines. Each frame, or "field," this is especially suited to drawing. demands a different kind of concentration. One de mands concentration close up within its confining Steir calls a recent series of drawings From the Sea. outline; it fills the visual field with greater incident of She writes: "They are terrifically athletic, like swim detail. The other demands the conceptualization of a ming both large and gestural and small and detailed total image. The dual representation elicits a complex in one motion." For Steir the "sport" of drawing serves interplay of reflex and reflection, close involvement the purpose of physically working out anxiety —of prac and detachment. (For the catalog she "cut a large draw ticing freedom. She works with a large sheet of paper ing into sections wishing to show the whole gesture stapled to the wall. The gesture itself originates in her and essence of a large drawing through a few details.") body, in its size and reach, and ends with the mark of The body is involved at actual scale. The line comes the pencil she is holding as an extension of her finger. alive; it is both line and wave: the very stuff of illusion. For Steir, the notion that any mark, group of marks, a line or cluster of lines, whether black or colored, could represent something else or could, indeed, stand on its own as meaningful is, on the face of it, absurd. Robert Wilson is a performance artist and producer Although for Steir drawing is "just marks, and that's who came to critical attention in 1976 with Einstein on that," and although her marks don't always describe the Beach, a five-hour opera created in collaboration edges or forms, they do "pretend to be something with composer Philip Glass and presented at the Metro else." In these drawings pencil is water. Illusion plays politan Opera House in New York. Einstein focused on illusion, first the illusion that lead pretends to be many aspects of performance art now accepted as basic water and "then the illusion that that has meaning." to avant-garde performance and opera. Her drawing method deliberately courts chaos Wilson trained as an architect and was a painter; within a conceptual framework. As the lines accumu like a number of other artists in the seventies he began late there is always the possibility that the result will to prefer working in the performance medium, open not be order but will be the direct projection of the ing his art into three dimensions, extended time, real primal notions that are its material. Although the exe movement, sound, and live figures. Wilson is a con cution is spontaneous it is somewhat ritualized. The temporary innovator in the tradition of the "total art drawings are highly conceptualized in advance; never work" as it was conceived initially by artists and by theless they are pushed to the limit. There is no ad the innovators and giants of the modern theater in vance concept of finish in the sense of realizing the the first decades of this century. He belongs to the motif at a fixed point in time and space; rather, finish tradition of men such as Edward Gordon-Craig who becomes a question of satisfactory visual incident, of abolished actors and static painted sets; and to that of

14 the Italian Futurists and the Russian Constructivists series of rapid automatic sketches that proceed act by who first experimented with a metalanguage and non act, scene by scene, unfolding the story. They assure sense vocalization, made the actors into formal ele thematic unity and continuity; the structure once real ments of the whole, and created performances in ized on the sheet in the tiny conceptual drawings is collaboration with advanced musicians. But a large el carried in mind as the governor of all the disparate ement of the earlier work was sheer parody and elements of the production. For Wilson the pictorial spoofing of tradition. Wilson is the first to seriously is the underlying organizational principle of any and fully bring the concept of the artist's total artwork production. as a major art form, extended in time, to the grand On stage Wilson works with a freedom of struc opera tradition. tural invention, with chance, and with contingent, even Drawing is Wilson's basic conceptual tool. While disjunctive, part-to-part structure, which derive from Morris and Nauman speculate on doom, Wilson, like modern pictorial inventions as well as Dada and Sur Rosenquist, speculates on salvation. The figure not realist performances and are rooted in the pictographic, present in Wilson's drawing but present in all his re filmic sequencing of the drawings. He works with cent work is the hero who has the power to affect the collage, montage, and superimposition, with an as course of events, perhaps to be a savior. The hero is semblage of disparate parts, and with variations and usually a shadow figure, his story an imaginative in repetition. He involves the spectator, requiring him to terpretation of the events of his life using his attri follow the "business" of construction and deconstruc- butes as a pretext for numerous substories involving tion that affects the logical flow of events, using what other figures and properties. Wilson's current savior critic Franco Quadri has called "associative and is the guileless fool Parsifal from the Wagner "festival disassociative principles in pursuit of an ideal of con stage play." The drawings rehearse only the condi ceptual freedom." tions under which these figures will appear. They deal The obsessive repetition and variation, the mea with the transparent volume of the space of the stage, sured progression from frame to frame, scene to scene, relating chiaroscuro drawing to the light and shadow is the sign and may be the source of the ritualistic of the stage space. Drawing automatically and obses character of Wilson's work. The absence of figures in sively, Wilson translates conceptually from one mode most of the drawings, their anonymity —in effect, their into the other, from space expressed in black-and-white silence —is a sign that no single actor is central to a drawing to its concrete spatial realization. Wilson work. For a drawing exhibition at the time of the Rotter The drawings do not depict figures and the stage dam performance of Wilson's recent CIVIL warS the figures are impersonal, yet theater as an art form is Dutch curator Wim Beeren asked, "Do Wilson's draw the medium par excellence for the human form. Thus, ings represent theater? Are they an element of theater? in a crisis of choice between an apparently radically Are they the stills of a theatrical process?" They are, nonfigurative art such as Minimalism and a need for in fact, all three —and more. As pure speculation —a figuration, performance art (an extension of the form of random note-taking or doodling —they form viewer's role in Minimalism) must have seemed to a bank of ideas. The drawings accurately convey how Wilson, as to other artists of the late sixties, a natural each scene will look; drawings are realized as curtains, solution to conflicting factors. sets, drops, and properties for performances, and used In a Wilson performance the props are as much for projection during performances. As stills they are personae as the actors. The vocal parts are there for the beginning of the theatrical process, and, sometimes, sound. The characters appear, vocalizing, but the in drawings made after the performance, they become figures seem arbitrarily dispersed; they are neutral, its reflection as well. They are a form of story-board, a not fully realized dramatic personalities, parts of a mea-

15 sured whole. The slow ritualistic movement of figures moves outside the normal field of vision and normal and the changes of light and properties, all meshed physical, perceptual limits. Its object is to make the into a total fabric, reveal the pictorial rather than the experience of looking less predictable and manageable dramatic as the source of inspiration. Graphite and —to keep it open and moving —and ultimately to charcoal are Wilson's drawing mediums; light is his change our expectation and experience of drawing. stage medium. He works with light onstage as if Cutting down size meant cutting down the gesture to "drawing." The pictorial realization of a performance scale —an uncomfortable idea, as it turned out. is a full translation of the drawings into the space Steir solved the problem, as she noted herself, by proper to the stage; at times there is even a literal trans making a large drawing and cutting it to size. Morris, lation of the chiaroscuro of the drawings into the stage also, did not feel comfortable about reducing the scale lighting. of his work. He suggested one-to-one scale reproduc Wilson's life is highly mobile, his drawing portable; tion of an existing drawing. That turned out to be a he moves from city to city working on productions, misrepresentation since another part of the issue (also keeping the creative process alive over long periods of raised by Steir) is "normal" sight distance established time. But if the drawings involve Wilson's process of by the work itself. He finally compromised on details the creation of the dramatic spectacle, they at the same scaled at the "normal" distance from the object. time involve themselves. Wilson likes drawing as Nauman solved the problem in a very direct manner, drawing. He likes the velvet blacks, the dramatic line, giving us a reproduction —a direct typographical the sheer material quality of the medium, the instru production —as an artwork. This has the effect of rein ments he works with, and the paper itself. He likes forcing Ryman's viewpoint. Rosenquist dealt with the the sensual quality and probably the privacy. The grand problem by treating the catalog as a form of the pre designs that can only be accomplished with the collab liminary note-taking he normally follows in creating oration of hundreds of people here find their private new work. For Wilson "size" —on stage —equals du beginnings and their summation. ration in time expressed by light. In his drawing, size has to do with multiplication: the production of many small drawings in minute variations and in seemingly inexhaustible numbers. For him the catalog format A note on the catalog: Most of the drawings included in worked better but is probably too limited in the num the exhibition were not available for illustration in the ber of drawings shown. catalog, so I asked each artist to make drawings spe cifically for the catalog within a given but flexible —B. R. format. Because four of the six artists in the exhibition draw to large size, the catalog was conceived to pro vide as much drawing area as possible as well as to simulate the usual drawing formats of each. Never theless, the limitations of page size focused certain issues. The major factor affecting the size of the draw ings of Steir, Morris, and Nauman is the gesture which, 1. Michel Foucault, "The Unraveled Calligram," in This Is Not a Pipe, trans, and ed. James Harkness (Berkeley, Los Angeles, London: University of in the work of each artist, is generated by the whole California Press, 1983), pp. 20-21. body in movement. For them (and for Rosenquist, al 2. Claude Levi-Strauss, quoted in David Shapiro, Jasper Johns Drawings though in a different way since he plays with transfor 1954-1984 (New York: Harry N. Abrams, Inc., 1984), p. 55. mations of scale) size is a critical issue. It forces the 3. Walter Benjamin, "The Work of Art in the Age of Mechanical Reproduc tion," in Illuminations, ed. and intro. Hannah Arendt; trans. Harry Zohn viewer to a new kind of experience, one that even (New York: Schocken Books, 1969), p. 220.

16 RobertMorris

Born 1931, Kansas City, Missouri. Stud ied Kansas City Art Institute, 1948-50. Studied California School of Fine Arts, San Francisco, 1950-51. Studied Reed College, Portland, Oregon, 1953-55. Received M. A. (Art History) from Hunter College, New York, 1963. Lives in New York.

Selected Individual Exhibitions 1957 Dilexi Gallery, San Francisco 1964 Galerie Schmela, Diisseldorf/ Green Gallery, New York 1967 Leo Castelli Gallery, New York 1968 Stedelijk van Abbemuseum, Eindhoven /Galerie Ileana Sonnabend, Paris 1969 Galleria Enzo Sperone, Turin 1970 Whitney Museum of American Art, New York 1971 The Tate Gallery, London 1972 Untitled. 1984. Painted cast hydrocal and watercolor on paper mounted on canvas. 72 x 51 Leo Castelli Gallery, New York 1973 Collection Estelle Schwartz, New York. (Photograph: Jon Abbott, courtesy Ileana Sonnabend Gallery) Galerie Konrad Fischer, Diisseldorf 1974 Art in Progress, Munich 1976 Leo Castelli Gallery, New York 1977 Stedelijk Bern I Spaces, The Museum of Modern American Art, New York 1980 Venice Museum, Amsterdam 1979 Ileana Art, New York 1970 Information, Biennale/Hauptwerke der Minimal Art, Sonnabend Gallery, New York 1980 The Museum of Modern Art, New InK, Zurich / Sammlung Panza-Minimal The Art Institute of Chicago 1983 Leo York/ Conceptual Art, Arte Povera, Land Skulpturen, Kunstmuseum, Diisseldorf Castelli Gallery, New York/Rijksmuseum Art, Galleria Civica d'Arte Moderna, 1981 Westkunst, Cologne/ Metaphor: New Kroller-Miiller, Otterlo 1984 Padiglione Turin 1971 Worksfor New Spaces, Walker Projects by Contemporary Sculptors, d' Arte Contemporanea, Milan 1985 Leo Art Center, Minneapolis /Sonsbeek '71, Hirshhorn Museum and Sculpture Castelli: 142 Greene Street and Ileana Sonsbeek Park, Arnhem, the Nether Garden, Washington, D.C. 1982 Sonnabend Gallery, New York lands 1972 Diagrams and Drawings, Zeitgeist, Martin Gropius Bau, Berlin/A Rijksmuseum Kroller-Miiller, Otterlo Century of Modern Drawing from The 1974 Idea and Image in Recent Art, The Museum of Modern Art, New York,The Selected Group Exhibitions Art Institute of Chicago 1975 Zeichnungen Museum of Modern Art, New York 1966 Primary Structures , The Jewish 3, U.S.A., Stadtisches Museum, 1983 Twentieth-Century Sculpture: Process Museum, New York 1968 Documenta 4, Leverkusen, West Germany 1976 and Presence, Whitney Museum of Kassel 1969 Pop Art, Hayward Gallery, Drawing Now, The Museum of Modern American Art, New York/New Art, The London /New YorkPainting and Sculpture: Art, New York 1977 Probing the Earth: Tate Gallery, London /The End of the 1940-1970, The Metropolitan Museum Contemporary Land Projects, Hirshhorn World: Contemporary Views of the Apoca of Art, New York /Op losse schroeven, Museum and Sculpture Garden, Wash lypse, New Museum of Contemporary Stedelijk Museum, Amsterdam/ When ington, D.C.I Documenta 6, Kassel 1978 Art, New York 1984 Via New York,Musee Attitudes BecomeForm, Kunsthalle, Art about Art, Whitney Museum of d'Art Contemporain, Montreal H Details of Untitled (from the Firestorm series) 1982. Charcoal, ink, graphite, and pigment and wash. 76" x 16'. The Museum of Modern Art, New York. Gift of the Mr. and Mrs. Samuel I. Newhouse Foundation. (Photographs: Kate Keller) (See page 9)

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Bruce Nauman

Born 1941, Fort Wayne, Indiana. Received B.S. from University of Wis consin, 1964, and M.F.A. from Univer sity of California, Davis, 1966. Lives in New Mexico.

Model lor Stadium. 1984. Painted wood and plaster. 29 V2 x 93 V2x 65". Courtesy Leo Castelli Gallery, New York. (Photograph: Dorothy Zeidman)

Selected Individual Exhibitions more Museum of Art, Maryland 1983 umenta 5, Kassel/ Diagrams and Drawings, 1966 Nicholas Wilder Gallery, Los Ange Krefelder Kunstmuseum, Museum Haus Rijksmuseum Kroller-Muller, Otterlo/ les 1968 Leo Castelli Gallery, New York/ Esters, Diisseldorf 1984 Sperone Kunstmuseum, Basel 1975 Drawing Now, Galerie Konrad Fischer, Diisseldorf 1969 Westwater, New York/Leo Castelli: 142 The Museum of Modern Art, New Galerie Ileana Sonnabend, Paris 1970 Greene Street, New York York 1976 200 Yearsof American Sculp Galleria Enzo Sperone, Turin /Galerie ture, Whitney Museum of American Ricke, Cologne 1971 Galerie Bruno Bi- Art, New York 1977 Biennial, Whitney schofberger, Zurich 1972 Bruce Nauman: Museum of American Art, New York Workfrom 1965-1972, Los Angeles Selected Group Exhibitions 1978 Made by Sculptors, Stedelijk County Museum of Art; Whitney 1966 William Geis and Bruce Nauman, Museum, Amsterdam/ VeniceBiennale Museum of American Art, New York; San Francisco Art Institute 1967 American 1980 Pier 4- Ocean, Hayward Gallery, Kunsthalle, Bern; Contemporary Arts Sculpture of the Sixties, Los Angeles London; Rijksmuseum Kroller-Miiller, Museum, Houston; San Francisco Mu County Museum of Art 1968 Documenta Otterlo 1981 Soundings, Neuberger seum of Modern Art 1973 Leo Castelli 4, Kassel 1969 When Attitude Becomes Museum, State University of New York, Gallery, New York 1974 Ace Gallery, Form, Kunsthalle, Bern / Op losse Purchase 1982 Antiform et Arte Povera, Vancouver/ Art in Progress, Munich schroeven, Stedelijk Museum, Amster Sculptures 1966-69, Centre d'Arts Plas- 1975 The Consummate Mask of Rock, dam/ Anti-Illusion: Materials/ Procedures, tiques Contemporains, Bordeaux /Doc Albright-Knox Art Gallery, Buffalo 1976 Whitney Museum of American Art, umenta 7, KasselM Century of Modern Ace Gallery, Vancouver, Los Angeles, New York 1970 Information, The Mu Drawing from The Museum of Modern and Venice, California 1978 InK, Zurich seum of Modern Art, New York/ Art, New York,The Museum of Modern 1979 Portland Center for the Visual Whitney Annual: Sculpture 1970, Whit Art, New York 1983 Neue Zeichnungen Arts, Oregon 1981 Bruce Nauman ney Museum of American Art, New aus dem Kunstmuseum, Basel, Kunst 1972-1 981, Rijksmuseum Kroller-Muller, York 1971 Prospect '71, Kunsthalle, museum, Basel; Kunsthalle, Tiibingen; Otterlo/Staatliche Kunsthalle, Baden- Diisseldorf/ Sonsbeek'71, Sonsbeek Park, Neue Galerie, Staatliche und Stadtische Baden 1982 Bruce Nauman: Neons, Balti Arnhem, the Netherlands 1972 Doc Kunstsammlungen, Kassel H End of the World. 1984. Pay Attention. 1984. a in JB ill I U I 0 Ju j"8 j u . El ffl n n a a ffiH

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James Rosenquist

Born Grand Forks, North Dakota, 1933. Studied painting University of Min nesota, 1952-53, and Art Students League, New York, 1955. Painted out door advertising in New York, 1957-60. Lives in New York and Florida.

Selected Individual Exhibitions 1962 Green Gallery, New York 1963 Green Gallery, New York 1964 Dwan Gallery, Los Angeles /Green Gallery, New York 1965 Galerie Ileana Sonna- bend, Paris I ¥-111, Leo Castelli Gallery, New York; Moderna Museet, Stock holm; Stedelijk Museum, Amsterdam; Kunsthalle, Bern; Louisiana Museum, Humlebaek, Denmark; 1968 National Gallery of Canada, Ottawa 1969 Leo Star Thief. 1980. Oil on canvas. 17' 1" x 46'. Collection Art Enterprises, Inc. (Photograph: Bevan Castelli Gallery, New York 1970 Galerie Davies, courtesy Leo Castelli Gallery) Ricke, Cologne 1972 Wallraf-Richartz Museum, Cologne/ Whitney Museum of American Art, New York 1973 Stede lijk Museum, Amsterdam 1974 Mayor Object, The Solomon R. Guggenheim 1969 Annual Exhibition of Painting, Gallery, London 1975 Margo Leavin Museum, New York/Pop Art USA, Oak Whitney Museum of American Art, Gallery, Los Angeles 1976 Mayor Gal land Art Museum, California / The Popu New York/New YorkPainting and lery, London 1977 National Gallery of lar Image, Institute of Contemporary Sculpture: 1940-1970, The Metropoli Victoria, Australia 1979 Plains Art Art, London 1964 Amerikanst Pop-konst, tan Museum of Art, New York 1974 Museum, Moorhead, Minnesota/ Al- Moderna Museet, Stockholm/ Environ American Pop Art, Whitney Museum of bright-Knox Art Gallery, Buffalo 1980 ment by 4 New Realists, Sidney Janis American Art, New York 1978 American Texas Gallery, Houston 1982 Castelli Gallery, New York/ Painting and Sculp Painting of the 1970s, Albright-Knox Art Feigen Corcoran, New York 1983 Leo ture of a Decade: 54/64, The Tate Gallery, Gallery, Buffalo 1979 Eate Twentieth- Castelli Gallery, New York 1984 Thorden London /Pop Art, Stedelijk Museum, Century Art from the Sidney and Prances Wetterling Galleries, Stockholm 1985 Amsterdam 1965 Pop Art, Nouveau EewisFoundation, Institute of Contempo Leo Castelli Gallery, New York Realisme, Etc., Palais des Beaux-Arts, rary Art, Philadelphia 1981 Internationale Brussels 1967 The 1960s: Painting and Ausstellung Koln 1981, Cologne 1984 10 Sculpture from the Museum Collection, Painters and Sculptors Draw, Museum of Selected Group Exhibitions The Museum of Modern Art, New Fine Arts, Boston/ Summer Exhibition: 20 1962 New Realists, Sidney Janis Gallery, York/ American Painting Now, United Yearsof Collecting, Stedelijk Museum, New York 1963 Six Painters and the States Pavilion, Expo '67, Montreal Amsterdam I I 1

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RobertRymait

Born 1930, Nashville, Tennessee. Attended Tennessee Polytechnic Institute and George Peabody College, 1948-50. Lives in New York.

Selected Individual Exhibitions 1967 Paul Bianchini Gallery, New York 1968 Galerie Konrad Fischer, Diis- seldorf/Galerie Heiner Friedrich, Mu nich 1969 Fischbach Gallery, New York/ Galerie Yvon Lambert, Paris/ Galleria Fran^oise Lambert, Milan /Ace Gallery, Los Angeles 1970 Fischbach Gallery, New York 1971 Dwan Gallery, New York/Galerie Heiner Friedrich, Cologne 1972 John Weber Gallery, New Index. 1982. Oil and enamel on fiberglass with aluminum. 43 Vi x 40". Collection E. A. Gutzwiller, York/The Solomon R. Guggenheim Zurich. (Photograph: Allan Finkelman) Museum, New York/1973 Galleria San Fedele, Milan/ John Weber Gallery, New York/ Art & Project, Amsterdam 1974 Stedelijk Museum, Amsterdam/ Selected Group Exhibitions Louisiana Museum, Humlebaek, Westfalischer Kunstverein, Munster/ 1975 Fundamental Painting, Stedelijk Denmark/ VeniceBiennale/Minimal and Palais des Beaux-Arts, Brussels/John Museum, Amsterdam /Drawing Now, Conceptual Art from the Panza Collection, Weber Gallery, New York 1977 PS. 1, The Museum of Modern Art, New Museum fur Gegenwartskunst, Basel Institute for Art and Urban Resources, York 1976 VeniceBiennale/ Three Decades 1981 A New Spirit in Painting, Royal Long Island City, New York/ Galleria of American Art, selected by the Whit Academy of Art, London /Westkunst, Gian Enzo Sperone, Rome /Galerie ney Museum of American Art, Seibu Cologne 1982 60's-80's, Stedelijk Mu Annemarie Verna, Zurich /Whitechapel Department Store Gallery, Tokyo / Rooms, seum, Amsterdam /Documenta 7, Kassel Art Gallery, London 1978 InK, Zurich PS. 1, Institute for Art and Urban 1983 Abstract Painting: 1960-69, PS. 1, 1979 Sidney Janis Gallery, New York Resources, Long Island City, New York Institute for Art and Urban Resources, 1980 Kunstraum, Munich 1981 Sidney 1977 Biennial, Whitney Museum of Long Island City, New York/Minimalism Janis Gallery, New York/Musee Na American Art, New York/ Documenta to Expressionism, Whitney Museum of tional d'Art Moderne, Centre Georges 6, Kassel 1978 American Painting of the American Art, New York 1984 Stiftung Pompidou, Paris 1982 Kunsthalle, 1970s, Albright-Knox Art Gallery, Buf fur Neue Kunst (Crex Collection), Diisseldorf 1983 Bonnier Gallery, New falo 1979 The Reductive Object: A Survey Schaffhausen, Switzerland /La Grande York 1984 Galerie Maeght Lelong, New of the Minimalist Aesthetic in the 1960s, Parade, Stedelijk Museum, Amsterdam; York and Paris 1985 Rhona Hoffman Institute of Contemporary Art, Boston The Solomon R. Guggenheim Museum, Gallery, Chicago 1980 Andre, Dibbets, Long, Ryman, New York I > !

Untitled Number 7. 1984. Enamel on anodized aluminum. Untitled Number 3. 1984. Ink and enamel on anodized aluminum. Untitled Number 8. 1984. Graphite pencil on anodized aluminum. Untitled Number 6. 1984. Ink and enamel on anodized aluminum. Untitled Number 2. 1984. Ink on anodized aluminum. Untitled Number 4. 1984. Ink on anodized aluminum. (Photographs: Kate Keller)

Pat Steir

Born 1940, Newark, New Jersey. Stud ied Pratt Institute, Brooklyn, Boston Museum School and Boston University, Massachusetts, 1956-62. Received B.F.A. from Pratt Institute, 1961. Lives in New York and Amsterdam.

Selected Individual Exhibitions 1964 Terry Dintenfass Gallery, New York 1971 Graham Gallery, New York 1972 Paley & Lowe, Inc., New York 1973 Corcoran Gallery of Art, Washington, D.C. 1975 Fourcade, Droll, Inc., New York 1976 Galerie Farideh The Brueghel Series (A Vanitas oi Style). 1984. Series of 71 panels: 1 panel, pencil on poster, Cadot, Paris/ Otis Art Institute, Los 28 % x 22 W; 16 monochrome panels, oil on canvas, each 27 % x 21 64 polychrome panels, oil Angeles 1978 Droll /Kolbert Gallery, on canvas, each 28 Vi x 22 V2".Collection the artist. (Installed at The Brooklyn Museum, 1984; New York/Galleria Marilena Bonomo, photograph: Peter Muscato) Bari, Italy 1979 Galerie Farideh Cadot, Paris 1980 Max Protetch Gallery, New York/ Galerie d' Art Contemporain, Ge Selected Group Exhibitions falo 1979 The 1970's New American Paint neva 1981 Galleriet, Lund, Sweden 1963 High Museum of Art, Atlanta ing, New Museum of Contemporary 1982 Galerie Annemarie Verna, Zurich 1964 Drawings, The Museum of Mod Art, New York 1980 American Painting 1983 Form, Illusion, Myth: The Prints and ern Art, New York 1966 Terry Dintenfass of the 60s and 70s, Whitney Museum of Drawings of Pat Steir, Spencer Museum Gallery, New York 1970 French and American Art, New York/ American of Art, University of Kansas, Lawrence; Company, New York 1972 American Drawings in Black & White: 1970-1980, University Art Museum, California Drawings 1963-1973, Whitney Mu The Brooklyn Museum, New York 1982 State University, Long Beach; Con seum of American Art, New York 1974 Geometric Art at Vassar, Vassar College temporary Arts Museum, Houston; Joan Snyder and Pat Steir, Institute of Art Gallery, Poughkeepsie, New York Wellesley College Museum, Massa Contemporary Art, Boston 1976 16 1983 Sex and Representation, A Space, chusetts; Brooks Memorial Art Gallery, Projects/ 4 Artists, University Art Toronto/ Biennial, Whitney Museum of Memphis I Arbitrary Order: Paintings by Museum, California State University, American Art, New York/ ARC Exhibi Pat Steir, Contemporary Arts Museum, Long Beach 1977 Biennial, Whitney tion, Musee d' Art Moderne de la Ville Houston; Lowe Art Museum, Coral Museum of American Art, New York/ de Paris 1984 Content: A Contemporary Gables, Florida; Contemporary Arts Drawings of the 70s, The Art Institute Focus, 1974-1984, Hirshhorn Museum Center, Cincinnati 1984 Van Straaten of Chicago /A Painting Show, PS. 1, and Sculpture Garden, Washington, Gallery, Chicago /Barbara Farber Gallery, Institute for Art and Urban Resources, D.C. / American WomenArtists Part II: Amsterdam/The Brooklyn Museum, Long Island City, New York 1978 Con The Recent Generation, Sidney Janis New York 1985 Joslyn Art Museum, temporary Drawing/New York,University Gallery, New York /Art of the Seventies, Omaha/ University Art Museum, Uni Art Museum, University of California, Whitney Museum of American Art, New versity of California, Berkeley /Cin Santa Barbara/ American Painting of the York 1985 A New Beginning: 1968-1978, cinnati Art Museum 1970s, Albright-Knox Art Gallery, Buf Hudson River Museum, Yonkers 1 I I E C U

Sections of Untitled Drawing (Water). 1984. Pencil.

RobertWilson

Born 1941, Waco, Texas. Attended Uni versity of Texas, 1959-62. Received B.F.A. from Pratt Institute, Brooklyn, 1965. Lives in New York.

Setting for the CIVIL warS. 1984. Cologne. (Photograph: Giinter Beer, courtesy Byrd Hoffman Foundation)

Selected Individual Exhibitions Beuningen, Rotterdam/Gallery Ueda, nent Collection: Highlights and Recent 1967 Poles (an outdoor environment/ Tokyo /Castelli Feigen Corcoran, New Acquisitions, Grey Art Gallery, New theater/ sculpture), Loveland, Ohio 1971 York/Museum of Art, Rhode Island York University, New York /Der Hang Willard Gallery, New York 1974 Musee School of Design, Providence 1984 Otis zum Gesamtkunstwerk, Kunsthaus, Galliera, Paris 1975 Galerie Wunsche, Art Institute-Parsons School of Design, Zurich /Art & Dance: Images from the Bonn 1976 Iolas Gallery, New York Los Angeles /Jones-Troyer Gallery, Modern Dialogue, 1890-1980, Neuberger 1977 Marian Goodman Gallery, New Washington, D.C. /Kolnischer Kunst- Museum, State University of New York, York 1979 Marian Goodman Gallery, verein, Cologne /Paula Cooper Gallery, Purchase 1984 An International Survey New York/Galerie Rudolf Zwirner, New York 1985 Institute of Contempo of Recent Painting and Sculpture, The Cologne /Paula Cooper Gallery, New rary Art, Boston Museum of Modern Art, New York York 1980 Neuberger Museum, State University of New York, Purchase/ Selected Group Exhibitions Contemporary Arts Center, Cincinnati 1974 Galleria Salvatore Ala, Milan 1975 Performances 1982 Marian Goodman Gallery, New Paula Cooper Gallery, New York 1981 1969 The Lifeand Times of Joseph Stalin, York/ Galerie le Dessin, Paris/ Galerie Biennial, Whitney Museum of Ameri Brooklyn Academy of Music, New York Annemarie Verna, Zurich /Stadtische can Art, New York/ Other Realities, Con 1976 Einstein on the Beach, Metropolitan Galerie im Lenbachhaus and Galerie temporary Arts Museum, Houston 1982 Opera House, New York 1983 the CIVIL Fred Jahn, Munich /Franz Morat The Next WaveArtists, Paula Cooper warS: a tree is best measured when it is Institut, Freiburg 1983 Pavilion des Gallery, New York/ American Drawings down, Schouwburg Theater, Rotter Arts, Paris/Galerie Brinkman, Amster of the Seventies, Louisiana Museum, dam 1984 Einstein on the Beach, Brook dam/ Museum Boymans-van Humlebaek, Denmark 1983 The Perma lyn Academy of Music, New York I Studies for Richard Wagner's Parsifal. 1984. Pencil f ' i'M e c i

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